Monday, September 12, 2016

"And Quiet Flows the Thread" by Vaishali S@NYFW

SS'17 Collection - And Quiet Flows the Thread, at Sustainable Fashion and Art show with artist Jeff Hong at the NYFW with FTL MODA on September 8, 2016 showcasing Indian weaves with contemporary silhouettes on the international platform of NYC. 

Her collection is an attempt to find a fine balance through knots and threads, depicting the flow of life. The idea is to carry this flow through the garments. The knots culminate at a point, which holds the entire garment together.

An  opportunity that will open an avenue not only for me and other designers, but also for the entire community of Indian textile makers and handloom weavers to get their craft noticed and acknowledged in the international fashion industry,

The colour palette consists of off-white, beige, shades of blue, grey and black. Textures ranging from knots and cords to loose, freely-hanging threads are the essence of the collection. Fabrics ranging from silk, khadi and Jamdani have been used extensively. Expect individualistic silhouettes in the form of jackets, dresses of varying lengths and aesthetically constructed drapes
Jamdani weave is the oldest, beautiful, intricate handwoven art from the state of West Bengal. In-spite of having access to minimal resources, the weavers create this beautiful art form using inspiration from their natural surroundings. Vaishali Shandangule is proud to bring this wonderful woven art to this stage.

The label will be sharing the same platform where international designers like Tom Ford, Vera Wang, Micheal Costello, Anna Sui and Alexandra Wang take centre stage. Of course, 
VAISHALI S’s step forward towards building the bridge which will allow us to share India’s centuries old hand weaving tradition, fine crafts and rich culture with the world.This opportunity will open an avenue not only for me and other designers but also for the entire community of Indian textile makers and hand loom weavers to reach out to the world. I am very very excited for this show. My team and I have worked very hard on the collection. I am hoping that it will give a lot of strength to my efforts for creating a presence for Indian weaves and crafts at the international fashion platform.
Showstopper was Reshma Qureshi, acid attack survivor and symbol of hope for all other survivors.

On the strength of its constantly growing industry recognition, 
FTL MODA presents a two-day show at NYFW next week under the CFDA calendar, and a new strong alliance. The world giant Samsung endorsed the most acclaimed producers at NYFW joining Fashion Week Online, and Global Disability Inclusion.

Continuing its work on the #IAmNYFW campaign, the FTL MODA team created the spin-off #TakeBeautyBack, to take a stand in the fight to stop acid attacks against women in developing countries.
The language of fashion speaks loud to the world also this season, thanks to a panel of international designers of excellence, selected with care and enthusiasm. Ten countries feature in the three shows with ethnic collections at the highest level, splendid styling and precious accessories.

Thursday, February 25, 2016

Isabella Blow's life in clothes

"In the end I was just lips and a hat," she said. But Izzy was always more than the MAC lipstick she designed (they wouldn't let her call it Blow Job) and the Philip Treacy hats she wore to stop people from swooping in for air kisses. "Fashion is a vampiric thing. That's why I wear the hats, to keep everyone away from me."
While Isabella had her armor, I have a Please Don't Kiss the Baby sign stuck on my Kelly bag, because hats mess up my hair. Besides, who wants to be loved by the undiscriminating?
I never met Isabella, but I caught glimpses of her enough times to notice what we had in common. And what we didn't. She hated Egypt, and I know that I never want to go back to Cairo, even if it is the only place on the planet to get burnt orange toe paint.
The first time I saw her was in the Tatler office, where I'd gone for a summer job as a sub, but failed the test. "You're not boring enough," the editor told me, as he interviewed me in a closet. "We'll find you something else." I wondered if that meant samples to take home with me. Through a crack in the door, I saw a girl with her sweater open, revealing a black lace Rigby & Peller bra. The queen's lingerie maker never had better publicity than this corrupt angel. "That's Isabella Blow," he said, anticipating my unspoken question.
In those days her name was always followed by the story of her grandfather, Jock Delves Broughton, whose decadent life was made famous by the movie White Mischief, about sex-mad cokeheads in Kenya.
Death always hung over Isabella. This can be seen in Fashion Galore! in scrapbooks and press cuttings about her aristocratic ancestors. When she was a child, her baby brother drowned in a puddle on the grounds of their ancestral home. After his death, her mother moved to London and her father moved on to a new family, disinheriting her.
They never lived in Doddington Hall, but in a smaller house on the grounds. Isabella was homeless in her heart, empathizing with the tramps sleeping rough in Hanover Square park opposite Vogue House. She made art her home, dressing up as a magical installation. "Always accentuate the head and the feet," she said. Her feet belonged to Manolo Blahnik and her head to Philip Treacy, though she planned to have it sent to her father when she died.
Not exactly beautiful, at least in the classical sense, Isabella could have been the Duchess of Windsor on acid with a dash of dachshund on top. Except she didn't need the acid. She had a love-hate relationship with her bipolar self. She must have known she was glamorous, but Crohn's disease and her English teeth filled her with self-loathing.
The next time I saw her, she arrived hat-first to an art opening and effortlessly upstaged the artist Tracey Emin. "Who's that?" Mr. Lash asked. I told him the story about Isabella Blow's wedding dress, which was, like mine, designed by Nadia la Valle, a designer not heard from before or since. Isabella never managed to escape her marriage. Like Dorothy Parker, she could have left the husband and kept the name.
My last glimpse of her was through the window of her apartment in Eton Square. Her black head bowed over a pile of olives she was arranging on a plate, she looked like a sad majestic bird from an Edgar Allen Poe story, or the sculpture of her by artist-couple Webster and Noble that opens Fashion Galore!
A few weeks later she jumped off the Hammersmith flyover. She didn't die that day, but she couldn't wear Manolos anymore, a fate worse than death to a trivial but profound soul like Isabella Blow. It was only a matter of time before she finished the job and became a beautiful corpse dressed by Alexander McQueen, who joined her a few seasons later.
Before that, McQueen paid tribute to his mentor and muse in his show La Dame Bleu, creating a Bird of Light through which the models entered the runway dressed as Izzy lookalikes. This is recreated at the end of the Somerset House show. It reminds me of the moment in The Great Gatsby when Meyer Wolfsheim declines to go to Gatsby's funeral, saying, "Show your friendship to the man while he is alive." Or, reward the woman's contribution to your career by offering her a job when you get the top job at Givenchy.
Next time I wear my white fur coat, I'll spray it with Fracas and think of Isabella Blow.

by Vivien Lash

Carven Men's

Having nostalgic fantasies of an artist on the Riviera, are we? Carven’s spring 2014 presentation brought us so close to the bohemian mentality that we could almost smell linseed oil. The runway was set with the accoutrements of a painter's atelier — monochromatic pottery, thatched furniture — and of course the pensive (and sometimes pouting) models were decked out in the latest designs.

It would seem that designer Guillaume Henry reveled in Picasso’s closet, starting the presentation with ochre-yellow overcoats (which looked suspiciously like an artist's smock) and a seafoam-green tailored suit. Though the lines were crisp and clean, comfort was a necessity: tops were boxy, relaxed pants were ankle-grazing, shorts were Bermuda-esque, and sandals were strappy.
In the sea of tangerine seersucker and khaki linen, there was the occasional glimpse of melancholy, as some models sported somber black three-buttons. And there were a few navy-blue jacket-and-shorts ensembles. But these dark patches ultimately gave way to sunny romanticism — complete with floppy brimmed hats and shiny leather satchels.

by Bolanile Maté


Wednesday, January 27, 2016

Fetishism in Fashion

What's Your Fetish?

Fetishes are like phobias. You don't always know you have one, but it's there. And chances are, it has a name. Both understanding the covert secrecy involved in practicing one's fetish and seeing a future with "bolder, crazier and more outlandish fashion," Lidewij Edelkoort has come up with "Fetishism in Fashion." The style forecaster approached these sartorial fetishes — infantilism, transvestism, monochromatic black, among 50 in all — with ample visual evidence and utmost scientific precision. And surely, sexy scientist is a fetish to someone.